Hearing Faith: Music as Theology in the Spanish Empire

260 Pages·2020·7.326 MB·English

by  Andrew A. Cashner

HearingFaith
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Studies in the History of
Christian Traditions
EditorinChief
RobertJ.Bast(Knoxville,Tennessee)
EditorialBoard
PaulC.H.Lim(Nashville,Tennessee)
BradC.Pardue(PointLookout,Missouri)
EricSaak(Indianapolis,Indiana)
ChristineShepardson(Knoxville,Tennessee)
BrianTierney(Ithaca,NewYork)
JohnVanEngen(NotreDame,Indiana)
FoundingEditor
HeikoA.Oberman†
volume 194
Thetitlespublishedinthisseriesarelistedatbrill.com/shct
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Hearing Faith
MusicasTheologyintheSpanishEmpire
By
AndrewA.Cashner
LEIDEN | BOSTON
Andrew A. Cashner - 978-90-04-43199-7
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Coverillustration:AssumptionoftheVirginbyPedroGarcíaFerrer,RetableofPueblaCathedral,Mexico
(PhotographbyAndrewCashner)
LibraryofCongressCataloging-in-PublicationData
Names:Cashner,AndrewA.,author.
Title:Hearingfaith:musicastheologyintheSpanishempire/AndrewA.Cashner.
Description:Boston:Brill,2020.|Series:StudiesinthehistoryofChristian
traditions,15735664;194|Includesbibliographicalreferencesandindex.
Identifiers:LCCN2020023183(print)|LCCN2020023184(ebook)|
ISBN9789004414976(hardback)|ISBN9789004431997(ebook)
Subjects:LCSH:Villancicos(Music)–Spain–17thcentury–Historyandcriticism.|
Churchmusic–Spain–17thcentury.|Churchmusic–CatholicChurch–17th
century.
Classification:LCCML3047.2.C372020(print)|LCCML3047.2(ebook)|
DDC781.71/2009171246–dc23
LCrecordavailableathttps://lccn.loc.gov/2020023183
LCebookrecordavailableathttps://lccn.loc.gov/2020023184
TypefacefortheLatin,Greek,andCyrillicscripts:“Brill”.Seeanddownload:brill.com/brill‑typeface.
ISSN1573-5664
ISBN978-90-04-41497-6(hardback)
ISBN978-90-04-43199-7(e-book)
Copyright2020byKoninklijkeBrillNV,Leiden,TheNetherlands.
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Contents
Acknowledgments ix
ListofIllustrationsandTables xii
Part 1
ListeningforFaith
1 VillancicosasMusicalTheology 3
1 SingingaboutSinging 6
2 PayingAttentiontoVillancicos 10
3 MusicaboutMusicintheVillancicoGenre 15
3.1 ImitativeReferencestoMusic:Birdsong,Instruments,Songsand
Dances 18
3.1.1 BecomingClarions 20
3.1.2 DanceandDifference 24
3.1.3 VillancicosaboutVillancicos 29
3.2 AbstractReferencestoMusicasConceptorSymbol 32
3.2.1 SolmizationPunsandTheologyofVoiceAlone 33
3.2.2 MusicItselfasaConceit 37
3.2.3 PointingtoaHigherMusic:HeavenlyandAngelic
Music 39
4 TheologicalListeningintheNeoplatonicTradition 44
4.1 HearingtheBookofNatureReadAloud 46
4.2 VoiceasExpressionofMan,theMicrocosm 48
2 MakingFaithAppealtoHearing 53
1 “TheSenseMostEasilyDeceived” 56
2 Well-TemperedHearing 61
2.1 Irízar:BattleoftheSenses 61
2.2 Carríon:InternalConflict 66
2.3 SensoryConfusion 67
2.4 TheTriumphofHearing 70
3 AccommodatingandTrainingtheEar 73
3.1 ExperiencingSpiritualTruththroughMusic 76
3.2 CulturalImpedimentstoHearing 81
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vi contents
4 ImpairedHearers,IncompetentTeachers:“Villancicosofthe
Deaf” 84
4.1 LaughingattheDeaf(GutiérrezdePadilla,Puebla
Cathedral) 84
4.2 LearningfromtheDeaf(Ruiz,MadridRoyalChapel) 88
5 FailuresofFaithfulHearing 94
5.1 “MakeaHedgearoundYourEars” 96
Part 2
ListeningforUnhearableMusic
3 ChristasSingerandSong(Puebla,1657) 101
1 “VoicesoftheChapelChoir”andthe“UnspeakingWord” 105
2 MusicaboutMusicintheVoicesofPuebla’sChapelChoir 111
2.1 ProjectingtheWords 112
2.2 DepictingtheWords 114
2.3 ExpressionandMadrigalStyle 120
3 DevotiontoChristasSingerandSong 122
4 EstablishingaPedigreeinaLineageofMetamusical
Composition 128
5 “AllWhoHeardItWereAmazed” 137
4 HeavenlyDissonance(Montserrat,1660s) 142
1 CererolsandtheBoys’SchoolChoirofMontserrat 143
2 The“NewConsonance” 147
3 WorldlyandHeavenlyMusic 150
3.1 ListeningfortheWorldBeyond 155
3.2 DissonantPlanets 159
4 GenealogiesofHeavenlyMusic 165
5 TheProblemofPerfection 173
5 OfferingandImitation(Zaragoza,1650–1700) 176
1 “LetVoicesAscendtoHeaven”:FromBrunatoAmbiela 177
1.1 Bruna:VoicesasFlamesofSelf-Offering 177
1.2 Ambiela:VoicesRisinginIntercession 183
1.2.1 OutdoingandOverdoing 185
1.3 OfferingHeartsandVoicesthroughMusic 190
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contents vii
2 ChristasaVihuela(Cáseda) 197
2.1 ChristasaMusicalInstrument 199
2.1.1 VihuelaandCithara 201
2.2 RepresentingtheVihuela,RepresentingChrist 208
2.3 FalseMusic 211
3 Conclusions 217
Bibliography 221
Index 238
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Acknowledgments
Iwishtoexpressmygratitudetothemanypeopleandinstitutionswhohave
helpedmeoverthelasttenyears.ThisresearchbeganwithmyPhDdissertation
attheUniversityof Chicago,fundedbyaJacobK.JavitsFellowshipfromthe
United States Department of Education, a Pre-Dissertation Research Fellow-
shipfromtheCenterforEuropeanStudiesatColumbiaUniversity,andaDisser-
tationCompletionFellowshipfromtheMellonFoundationandtheAmerican
Councilof LearnedSocieties.MyarchivalresearchinMexicoandSpainwas
fundedbygrantsfromtheCenterforLatinAmericanStudiesandtheDepart-
ment of Music at the University of Chicago, and a Eugene K.Wolf Research
Travel Grant from the American Musicological Society. Support for the final
stageofpublicationwasprovidedbyaHumanitiesCenterFellowshipfromthe
Universityof Rochester.HeartfeltthankstomyeditorsatBrill—RobertBast,
Arjan van Dijk, and Ivo Romein—for bringing this work to light, and to the
anonymousreaderforhelpingimproveit.
I am grateful to numerous librarians, archivists, and institutional caretak-
ersatthefollowinginstitutions(withapologiestoanyoneIhaveinadvertently
omitted):
– TheCapitularArchiveoftheCathedralofPuebladelosÁngeles:P.Francisco
Vázquez,rector,andtheIllmo.Sr.CarlosOrdaz,canónigoarchivista
– BibliotecaPalafoxiana,Puebla
– BibliotecaJoséMaríaLafragua,UniversidadAutónomadePuebla
– CENIDIM,theMexicannationalcenterformusicresearch,MexicoCity
– BibliotecadeCatalunya,Barcelona
– BibliotecaNacional,Madrid
– TheCapitularArchiveofSegoviaCathedral:P.BonifacioBartolomé
– ThemonasterylibraryofSanLorenzodeElEscorial
– TheAbbeyofOurLadyofMontserrat:P.DanielCodina
– TheArchdioceseofGirona
– TheUniversityofChicagoRegensteinLibraryandSpecialCollections:Scott
Landvatter
– TheNewberryLibrary,Chicago
– BayerischeStaatsbibliothek,Munich
– TheBritishLibrary,London
– LillyLibraryofIndianaUniversity,Bloomington
Thanks are due to Gustavo Mauleón Rodríguez for opening doors for me in
Puebla, for sharing sources from a private collection there, and for many in-
sights.ForhospitalityinMexicoCity,IthankAlfredoAmieva.
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x acknowledgments
Iacknowledgethehelpandsupportofmyprofessorsandcolleagues.Ithank
aboveallRobertKendrick,mydissertationadvisorandmentor:Bob,Ihungin
there.MaryFrandsenguidedmeintothefieldandcontinuestoprovidelevel-
headedsupport.Iamgratefultoallthemembersof mydissertationcommit-
tee:AnneWaltersRobertson,MarthaFeldman,FrederickdeArmas,andMaría
Gembero-Ustárroz.Otherscholarswhoshapedmythinkingandskillsinclude
PhilipBohlman,MelvinButler,CécileFromont,MaxwellJohnson,DerekKatz,
NathanMitchell,andClemensRisi.
ForhelpwithSpanishtranslations,IthankAnitaDamjanovic,JamesNemi-
roff,and AnaSánchez-Rojo.MiriamTripaldihelped withLatin, andDrayton
Benner,withHebrew.Thisprojecthasbenefittedfromtheinterchangeofideas
and sources with colleagues in related fields, including Chelsea Burns, Mary
ChannenCaldwell,IreriChávez-Bárcenas,WalterClark,DrewDavies,Elizabeth
Davis,CesarFavila,DianneLehmannGoldman,ErikaHonisch,BernardoIllari,
TessKnighton,PaulLaird,JavierMarínLópez,MiguelMartínez,JesúsRamos-
Kittrell, José Rodríguez Garrido, Emilio Ros-Fábregas, John Swadley, Martha
Tenorio, Álvaro Torrente, and Lorena Uribe Bracho. Thanks also to my col-
leaguesintheUniversityofRochesterCollegeMusicDepartment;tothemem-
bersof Grupo,theURworkinggrouponLatinAmericanandIberianculture,
especially Ryan Prendergast and Pablo Sierra Silva; and to Joan Rubin in the
HumanitiesCenter.
ThisbookwaspreparedintheLaTeXdocument-preparationsystem,based
ontheworkofDonaldKnuthandLeslieLamport,withanotablecontribution
fromthesesoftwarepackages:pst-geo(forthemaps),tikz(diagrams),reledmac
(poemexamples),andbiblatex-chicago(bibliography).Themusicalexamples
werecreatedinLilypond,originallydevelopedbyHan-WenNienhuysandJan
Nieuwenhuizen.Iamgratefultothemanyvolunteerswhohelpmaintainand
supportthisfreesoftware.
Iwouldnothavemadeitthisfarwithoutmyearliestmusicteachers,school
teachers,androlemodelsinRichmond,Indiana,includingRalphBurkhardt,
CharlesCombopiano,thelateRobertHensley,RonMatson,ChristineRogan,
MaryAnnThompson,andNormaVeramallay.Iamgratefultothefaithcom-
munitiesandministerswhohavesupportedmeandmyfamily:CentralUnited
MethodistChurchinRichmond,IN;IntervarsityChristianFellowshipatLaw-
renceUniversity,Appleton,WI(TimWebster);VineyardChurchofHydePark,
Chicago (RandTucker); St. Luke’s Anglican Church of La Crescenta, CA; and
NewHopeFreeMethodistChurchofRochester,NY(ScottSittig).Thankyouto
myparents,RandallandAnnCashner,andtomybrother,MattCashner(par-
ticularlyforhelpwithcomputing);andtofamily-in-law,WinandNancyMiller,
RobertandSarahMiller,MaryWalquist,andRobertandBettyWalquist,bothof
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